cave to cloud: the post-image / esad, amiens
TRANSCRIPT
CAVE TO CLOUD: THE POST-IMAGE- - - - - - - - - - - - - - - - - - - - - - - - - - - ESAD, Amiens- - - - - - - - - - - - - - - - - - - - - - - - - - - Erik Adigard / M-A-d
THE AMERICAN BLITZ(a trumpandemic)
the trumpendemic says:
THANK YOU FACEBOOK.
THANK YOU IMAGE.
THE AMERICAN BLITZ
“the top 20 accounts, which were mostly bots and highly automated accounts, averaged over 1,300 tweets a day and they generated more than 234,000 tweets,” _NYTimes, 17/11/16
M-A-d_FR
M-A-d_US
il n’y a pas decreation possible
sans maîtrise du contexte
M-A-D
an info dys/u.topia?
Nous substituons le management par la vitesse. Dans ce monde il vaut mieux avancer vite que de bien gérer. _Paul Saffo
1, 2, 3 4
quelques projets…
LE DESIGN EN 1992 c’était déjà une économie post capitalisteet la culture des createurs en réseau
RETOUR EN ARRIÈRE
the WIRED magazine narrative: “a digital revolution”FOCUS ON THE WORLD FOCUS ON THE SELF
WIREDDATABASE
SCREENSAVER POINTCAST WIRED FEED LIVEWIRED
branding dans l’ère de l’anthropocène
de tout ce qui nous entoure àtout ce que nous contenons (emergence du “user”)
CHANGEMENT DE PARADIGME 2008
FOCUS ON THE WORLD FOCUS ON THE SELF
TOOLS
NETWORKS“others”
user“me”
devices
MEDIA
QUESTION D’IMAGE
ISEA, HONG KONG COUNTERPOLIS CLIP https://vimeo.com/15070340
Colosseum
Pantheon
Sistine Chapel
IMPORTIN
G cultu
re
from
Gre
ece, E
gypt a
nd Palestine.
EXPORTING im
age
thro
ugh art, ci
nema, in
tern
et & to
urism
< universel (120)
< divin (1510)
< territorial (80AD)
acte 2
We see and memorize what we encounter by making captures and by sharing them with others, as if building a collaborative memory.
Icons inspire contemporary narratives, hence finding life expansion in the realm of fiction. Fiction enhances but
also blurs history.
There are remote creations that do not need to be visited
to be seen. They are seen, as so many fragments through remote
captures made by others.
Icons exist in fixed physical places and yet, when captured,
they are resettled in new virtual spaces where their presence can
be augmented or reduced.
Icons are attached to history, they own known
or discovered history. History reinforces fiction as
much as it counters it.
from PIGMENT to CAVE to IMAGE to CLOUD(a 400myr evolution)
THE POST IMAGE
35kBC El Castillo & Lascaux ◊ 0 Yin Yang 200 Christian Cross 1919 Bauhaus 1940’s Eames 1943 IKEA ◊
1976 I Love NY
107
7 Baye
ux Tap
estry
1511
Michela
ngelo’s
Creatio
n Of A
dam 1
917 Read
yMade
◊ 19
96 Crop
circle
s
1100’s Oil paint
1924 Surrealism 1960’s Minimalism
2003 Second Life
1483 Sistine Chapel 1995 Parthenon, Nashville
1996 Google 2010 Internet surpasses newspapers in the U.S.
1434 The Arnolfini Marriage 1870’s Impressionism ◊ 1984 Macintosh commercial ◊
1967 Deconstruction 1967 Summer of Love
100kBC pigments ◊ 1837 Daguerreotype ◊
1895 Movie projection 1971 Email 1947 Prime time TV ◊ 2012 3 billion YouTube views/day
7,000BC Sundial 6,200BC Maps ◊ 1503 Proportions of Man 1931 London Underground map ◊
1994 Earth Viewer
1286 E
yeglas
ses 1
879 Ele
ctric l
ight b
ulb ◊
1888
Consum
er Cam
era 1
950 Rem
ote co
ntrol
1950’
s Cont
act len
ses
1818 F
ranken
stein ◊
1933
Superm
an 1
979 Pum
ping Ir
on ◊
1986
Burning
Man 2
013 Ap
ple is
highes
t value
d com
pany
80 Colosseum ◊ 126 Pantheon ◊
1931 Las Vegas ◊ 1960’s Archigram 1989 virtual reality ◊
1989 WWW ◊ 2010 Instagram
500,000BC silex 1335 mechanical clock 1983 Swatch 1965 touch screen 1976 Apple Computer 1993 Newton 2007 iPhone
1504 David’s Hand
1969 Concorde
1953 First LSD trip 1957 Subliminal Advertising
1889 photobooth 1947 Polaroid
1968 Woodstock 1969 Smiley
3,300B
C Hier
oglyph
ics
1896
Psychoa
nalysi
s 19
50 Com
piler
1954
Fortra
n 19
95 Jav
a 19
85 Ado
be Post
script
2001
Process
ing
45kBC P
etrogl
yphs ◊
4,00
0BC Papy
rus
100 Pape
r ◊ 10
48 Move
able t
ype 1
453 Prin
ting P
ress ◊
1920’
s Billb
oards
1944
Photoco
py
1413 perspective 1485 anamorphosis
1862 Dollar bill 1951 Credit Card
50kBC B
urial m
ounds
◊ 45
0BC P
arthen
on ◊
1230
Great C
athedr
als ◊
1998
Petroni
as tow
ers 2
008 Burj
Dubai
1516 Utopia 1993 Luxor Casino, Las Vegas
1500 Palmanova 1811 Manhattan street grid
1980 Vietnam Veterans Memorial 1997 Bilbao’s landmark 1976 Centre Pompidou
1904 Timesquare
1945 Atomic bomb 1960’s M.A.D. doctrine
2,630BC Great Pyramids 1889 Eiffel Tower
1980 CNN 1981 MTV 2005 YouTube
1885 Motorwagen
1913 The Rite of Spring
1970’s Tagging
2010 iPad
1928 Mickey Mouse 1959 Barbie 1961 Ken
SPACES SYSTEMS DEVICES MEDIA ICONS ARTS
2. the CONTENThow does it mean?
0. Les Epoux Arnolfini 1. Jan van Eyck2. 14343. scène d’intérieur avec double portrait4. huile sur panneau de chêne5. 82.2 × 60 cm6. primitif flamand7. volets et cadre perdus 8. National Gallery, Londres9. inventory #186 etc.
Image begins and ends with a frame.
super thin mirror under test @ ESO
create
s
ownsaffe
cts
DE
FIN
ITIO
N F
AC
TO
RS •
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TYPES
carving
mosaic
painting
engraving
photo
drawing
painting
photogram
sculpture
object
model
stage
architectural
hologram
dataviz
animation
film
video
3D
ultrasound
map
ICON
MODALITIES
REPRESENTATION
SUBJECTIFICATION
MYSTIFICATION
SIGN
CAPTURE
SCOPE
DE-MYSTIFICATION
COMMODIFICATION
ATOMIZATION
inverse archeology
EMBODIMENT
SURVEILLANCE
digital
AR app
optical device
reflection
FACTORS
function
AUTONOMY
ACCUMULATION
genesis
taxonomy
ontology
referencing/logic
il-literacy
trans-cultures
POVs
emotions
sight
emotion/faith
impulse
temporatility
science
AGENTS
Creator
user
client/commissioner
subject
artist vs. designer
curator
patron/sponsor
licensee
custodian
critic/historian
archivist
conservator
publisher
lawyer
tool makers
entrepreneur
archaeologist
neurologist
sociologist
optician
psychologist
politician
EXPRESSIONS
empirical
authentic
misleading
meaning
poetic/aesthetic
iconic
ritualistic
civic
impulsive
lyrical
expressive
emotive
seductive
seismic
invasive
lethal
latent/liminal
vibrant
decayed
ruined
DYNAMICS
DISSEMINATED
APPROPRIATED
ATOMIZED
VIRTUALIZED
replicated
projected
broadcasted
mobile
urban
interactive
edited/retouched
restored
copyrighted
sanctified
shared
indexed
archived
programmatic
relational
METABOLIC
iterative
generative
fragmented
le mystère de l’image
1. PRIMARY CRITERIA what is it?
To control an image is to control its subject.
A SIGNit may be a message, a tag or a commentary
HELLOI am Neanderthal
A REPRESENTATIONit may be journalistic: a portrayal or depiction
A SUBJECTIFICATIONit may be discursive or scientific
A MYSTIFICATIONit may be confounding & manipulative
A MYSTIFICATIONit may be confounding & manipulative
A CAPTUREby an optical, electronic or programming device
3D PRINTING
2. NEW CRITERIA how does it change?
There’s always been a network connected to an iconic image. _Ben Cerveny
Il y a un reseau connecté pour TOUTES les images.
DE-MYSTIFICATION
DIMENSION
SURVEILLANCE
AI = ARTIFICIAL IMAGE
3. the ECOLOGYhow does it live?
There’s always been a network connected to an iconic image. _Ben Cerveny
Il y a un reseau connecté pour TOUTES les images.
ACCUMULATION
DISSEMINATION
4. METABOLIZATION les images existent comme des organismes
Le paysage des outils génératifs révèle un nouveau language dont les composants sont á la fois visuels et verbaux._Noam Chomsky
ATOMIZATION
BIG DATA
AI+BD = VIRTUALIZATION (VR + MR)
THEBOT-TERFLY EFFECT
STARTS WITH ANIMAGE
5. ALTERIMAGE la representation est d’abord une question de language
5. ALTERIMAGE la representation est d’abord une question de language
POST IMAGE:
1. constitue un nouveau type de SINGULARITE (choses symboliques)
2. privilégie UTILISATEURS & INTERFACES (aime être ICONIQUE)
3. fonctionne en tant que PROCURATION de gens & fonctions
4. est CODIFIEE et distribuée en RESEAUX
5. est AUTONOMIQUE & METABOLIQUE
6. est ATMOSPHERIQUE et répond à des lois “écosophiques
7. constitue une COSMOLOGIE de “conglomerations nucléaires”
8. indique l’émergence du SUJET BIOMETRIQUE
ET
9. INNOVANTE
POST IMAGE:
ACCUMULATIONS
SIMAGE
SIMAGEIMAGE
SIMAGE
SIMAGE
newshistoryscientificrecordcapturecommercefiction
photoscreen statue hologram
newshistoryscientificrecordcapturecommercefiction
camerasmirrorstelescopesmicroscopeswater surfaces.mapgraphpie chartabstractiondrawingpaintingcarvingprinting digitalmixmediaprojection TV paper textile kinetic image film still
Images join a “cosmology” of billions.
They can also be indexed by their attributes and then grouped into “simagis” (pictorial concepts whose language is purely visual)
Each simagi relates to an image set of concepts (subject, style era, etc.) therefore a simagi can be millions of unique reproductions of just one image/subject (Mona Lisa) OR thousands of distinct images of one subject (Obama) that add up into millions of reproductions.
Simagis are usually physical but increasingly abstract since more and more everyday things are immaterial.
SIMAGE
the Subject (or topic) relates the image to a realm of knowledge unique to each viewer
portraitplacethingscene
schematicabstraction
the FORM is an expression of language & culture proper to specific audiences
realisticabstract
styledcollaged
hybrid
the DATE(s) of image/subject is an anchor into a short or long history
fleetinganecdotic
historicancient
the MATERIALITY / medium dictates how the Image can exist in the world
mobileinterativeanimated
physicalreflected
projectedprintedcarved
the LIFECYCLE depends on the image ability to be seen, understood & shared
personalon-demand
programmeddistributed
popularizedcommercialized
lastingclassifiedarchived
contingencies
SIMAGE : une exploration au travers de typologies [more: simage.space]
UN GROUPE D’IMAGES SIMILAIRES = UNE SIMAGE
Notre monde est construit pour et par le regard. Qui contrôle le regard contrôle le monde.
L’image est à la fois marqueur du temps et de l’intemporalité.
Here come robots—and drones, bots, and emojis…
Les portiques sont des images de contrôle sur le territoire et les idées.
1. spetacle par image 2. expérience par interface 3. expérience directe
TROIS STADES D’EXPERIENCE POST-IMAGE
Kevin Kelly (pro-tech) vs.
Jaron Lanier (anti-bots) vs.
Bruce Sterling (anti-tech) vs.
Doug Rushkoff (pro-social)
» m-a-d.com + cavetocloud.com + simage.space